Against the Musicians (Greek and Latin Music Theory) by Sextus Empiricus, Denise Davidson Greaves

By Sextus Empiricus, Denise Davidson Greaves

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Extra resources for Against the Musicians (Greek and Latin Music Theory)

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The second, “hillbilly,” brings an awareness of commercial markets, an industrialization of a formerly home music. Finally, “oldtime” denotes how this body of true country music has aged, appreciated nowadays by many outside the culture where it began. ”19 While conscious of the frailties of memory and ever modest about his knowledge, Wade Mainer gives witness to his times. He remembers mountain music and the life that surrounded it, and he survives as the last hillbilly recording artist. 20 —stephen wade July 2009 notes 1.

The records were well received, and they let the music world know that a still youthful sixty-five-year-old Wade Mainer was picking up his music career where he’d left off, and making room for his talented wife in the bargain. With their children grown, her domestic duties diminished, letting her join Wade and display her own long-submerged music skills. The pair were soon in demand at country music shows, college campuses, folk festivals, overseas tours, and other events. On some occasions they were joined by old colleagues like Zeke Morris or Steve Ledford.

12 Wade’s “up date” songs refer back to the G tuning. When he next cites the C tuning for some higher-pitched singing, he implicitly includes the unique qualities this setting makes available. Wade actually employs two separate C tunings, each with their own dictates and traditions. The first, which he calls “double C” (gCGCD), has long figured in mountain practice. ” He also uses a C tuning usually called “standard C” (gCGBD). This tuning, documented in the earliest of the antebellum banjo tutors, presents a different set of possibilities from either G tuning or double C.

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